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University of Copenhagen YURIY POLYUKHOVYCH California State University, Chico DORIE J A Bowl Fit for a King A Ceramic Vessel of the Naranjo Court Bearing the Komkom Emblem Glyph Helmke, Christophe; Polyukhovych, Yuriy; Reents-Budet, Dorie J.; Bishop, Ronald L. Published in: The P A R I Journal Publication date: 2017 Document license: Unspecified Citation for published version (APA): Helmke, C., Polyukhovych, Y., Reents-Budet, D. J., & Bishop, R. L. (2017). A Bowl Fit for a King: A Ceramic Vessel of the Naranjo Court Bearing the Komkom Emblem Glyph. The P A R I Journal, 18(1), 9-24. http://www.mesoweb.com/pari/publications/journal/1801/Bowl.pdf Download date: 29. sep.. 2021 A Bowl Fit for a King: A Ceramic Vesselof the Naranjo Court Bearing the Komkom Emblem Glyph CHRISTOPHE HELMKE University of Copenhagen YURIY POLYUKHOVYCH California State University, Chico DORIE J. REENTS-BUDET Museum of Fine Arts, Boston RONALD L. BISHOP Smithsonian Institution The Maya Ceramics Project (formerly the Maya Survey part of the Palacios-Weyman Collection that is man- Project), now centered at the National Museum of aged by the Fundación para la Bellas Artes y la Cultura Natural History, Smithsonian Institution, has as its (FUNBA) in La Antigua, Guatemala. The FUNBA primary focus the sampling and documentation of the curates 4,000 pieces from the collections of the architect chemical composition of ancient Maya decorated ceram- Amelia Weymann de Palacios (née Weymann Tejeda) ics from a wide array of sites and collections throughout and José María Palacios Porta, lawyer by profession. On the Maya lowlands (for discussions of the INAA ana- account of their shared interest in history and culture, lytical technique, see Bishop et al. 1982; Blackman and the Palacios-Weyman Collection was started at a very Bishop 2007). This project combines nuclear chemistry, early date and enriched over five decades, until it grew archaeology, and art history to investigate the socio- to its current size, becoming one of the most important historical implications of Classic Maya (AD 250–850) collections of Guatemalan art. The Palacios-Weymann painted ceramics. The sampling program began in the Collection, which has been registered as national pat- 1970s and continues as an opportunistic patchwork of rimony by the Guatemalan government’s Institute of chemical analyses with the collaboration of many col- Anthropology, Ethnology and History (IDAEH), covers leagues and institutions. Project objectives include the three major periods: namely, a) Prehispanic, b) Colonial production of a pottery paste compositional survey and Hispano-Guatemalan, as well as c) modern and of ceramic production in Mesoamerica with a special contemporary. emphasis on the Maya region. The compositional data Below we provide a description of this remark- allow the discerning of compositionally and stylistically able bowl, its physical properties, and iconography, similar sherds and whole vessels, which imply their be- but we will focus mostly on the chemical attributes ing made from similar clay resources and ceramic reci- and the paleographic features of the glyphic text that pes as well as being viewed as the products of a specific adorns the vessel, in order to consider the interplay of area, site, and perhaps even a group of aligned artisans these two distinct lines of evidence and how they shed and/or workshop(s) (Bishop et al. 1986; Reents and light on the socioeconomic and historical context of its Bishop 1985, 2003). The ultimate goal is the detection of manufacture. patterns of use and exchange to shed light on ancient sociopolitical and economic interaction in Mesoamerica and especially among the Maya. Physical Properties and Chemical Analyses The Maya Ceramics Project was operating in The vessel is registered as 84-A-5-311-1 in the Palacios- Guatemala in 1993 at which point a pottery bowl in a Weymann collection. The shape of the vessel is that of a private collection was brought to the attention of Ronald bowl according to the archaeological shape-typology for L. Bishop, which was promptly sampled and attributed Maya ceramics (Sabloff 1975:23-24) with a flat bottom the analytical number MS5331. This same bowl is now and outsloping walls. Its maximal rim diameter is 20 cm The PARI Journal 18(1):9-24 © 2017 Ancient Cultures Institute 9 Helmke et al. A Bowl Fit for a King Relative to the overall patterning of ceramic paste the volcanic ash used as tempering material. Similarly, compositional divisions in the Maya lowlands, MS5331 differences also are noted in the surface quality of the fits comfortably within the compositional pattern for red slips used to paint the two cylindrical vases: That pottery made in the eastern central lowlands. That be- of MS1684/K1698 is significantly shinier, harder, and ing said, for archaeological sites located in present-day thicker than the Jauncy Vase’s slip paint. Such surface Guatemala we can exclude Holmul, La Sufricaya, Yaxox, characteristics typically indicate slightly different slip Chunhuitz, Ucanal, Yaxha, and Nakum as probable loca- paint preparations (or “recipes”; see Reents-Budet et al. tions of manufacture. Similarly, on the opposite side of 1994:301). Also divergent is line quality seen especially the border in adjoining western Belize, we can equally in the glyphic texts, which from an art historical per- exclude the sites of Xunantunich, Buenavista del Cayo, spective imply that these are works of different painters. Las Ruinas de Arenal, Baking Pot, Barton Ramie, and Yet there are so many shared paleographic features to Caracol. Unfortunately the data cannot confirm a specific suggest that these two vases may have been produced workshop locale, although it does point to the immedi- in the same workshop attached to the Naranjo court. In ate Naranjo area as the most promising and probable summary, the paste compositional data, paleographic candidate. However, the bowl’s compositional profile is details, and stylistic features lead to the interpretation of not notably close to any of the 146 Naranjo-excavated the two vases as being made by two artists who, if not samples in the database, which may suggest that it was working together, were certainly intimately knowledge- made from different clay resources and/or tempering able of each other’s works. The compositional variation materials and/or from an idiosyncratic potting recipe stems from slight changes in resource utilization and/or divergent from those used in the Naranjo workshops paste recipe, as typically happens among aligned artists represented by the presently analyzed samples. even in the same workshop. These may occur due to the 0 5 10 cm Of particular note is MS5331’s chemical dissimilar- routine changes in availability of resources and natural ity to any of the unprovenienced vessels in the database “potting behavior,” wherein adjustments are made in whose workshop, patron, and/or artist have been suc- any workshop over even a short period of time to adjust Figure 1. Section and elevation drawing of MS5331 (drawing: Christophe Helmke). cessfully connected to Naranjo based on paste analyses, to available resources. artistic or ceramic typological attributions, and/or Whereas a conclusive match could not be established epigraphic evidence (Table 1). For example, MS5331 is on the basis of chemical profiles and trace elements, the (16 cm at the base), with a total height of 9 cm (Figure 1). with a light orange slip, and a wide red band encircles chemically unlike the three vases painted during the NAA data does shed light on the place of MS5331 in the The bowl’s painting style resides in the greater Holmul the rim. Directly below the interior red rim band is a second part of the eighth century for the Naranjo ruler socio-ceramic milieu of the eastern central lowlands. style, first defined at the site of Holmul, Guatemala thinner line in the same paint, with regular half-circle K’ahk’ Ukalaw Chan Chaahk (r. AD 755–780+) (Figure The analyses also confirm that MS5331 is chemically (Merwin and Valliant 1932; Reents 1985). The Holmul loops dipping below the thin line. An unusual feature 2a–c). Yet the three vases are so similar to each other as similar to other Zacatel Cream-polychrome vessels in pottery style features a cream-white base slip and of the bowl is the large Ajaw date notation adorning the to suggest they are the product of one workshop, while the database. Most notable are MS1420 (K4669) (Figure painted imagery using shades of red, particularly a red interior center of the bowl, likely recording the dedica- the especially strong chemical similarity between K633/ 3a), MS1866 (Figure 3b), NK0011 (excavated at Nakum) outline and orange interior wash, the wash perhaps a tory date. This practice echoes that of the so-called MS1374 and K635/MS1375 can be used to infer that (Figure 3c), and BVB009 (excavated at Baking Pot, dilution of the red slip. An unusual feature of MS5331 is “Giant Ajaw” altars best known for Caracol (see Beetz they represent two vessels made from a common clay Belize) (Figure 3d), as well as other Naranjo-excavated the replacement of a deep black slip for image accents— and Satterthwaite 1981:77-102; Satterthwaite 1951:30-37) preparation. sherds and whole vessels whose ceramic types and ar- as is typical for the Holmul style—with a dark-value red and to a lesser degree Tikal (Schele and Freidel 1990:213, Further, MS5331 does not chemically resemble the tistic styles are consistent with Naranjo-area pottery in slip. These darker areas may simply have been painted Fig. 5:28). Similar Ajaw vessels are known from the so-called Jauncy Vase (K4464/MS1416) (Figure 2d) made much the same way as MS5331. The available evidence over multiple times using the same red slip rather than Eastern Central Lowlands, particularly at Caracol at Naranjo for its 38th king, K’ahk’ Tiliw Chan Chaahk suggests the immediate Naranjo area as the place of ori- comprising a separate paint recipe.
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